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Photoshop CS5 One-on-One: Mastery
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Drawing cusp points


From:

Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Drawing cusp points

In this exercise, we're going back to that project that I introduced at the outset of the chapter. We're going to trace along the boundary between this guy's face and the background, so that we can extract away the background using the Pen tool. This is going to be more elaborate than what we attempted with the droplet, not only because it requires more points, but also because we'll be working with a couple of different varieties of points. So we'll need smooth points of course for the continuous contours along his cheek, for example, and his ears, and along the sweater as well, but we'll also need a special variety of corner-point called the cusp point that has control handles associated with it.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Drawing cusp points

In this exercise, we're going back to that project that I introduced at the outset of the chapter. We're going to trace along the boundary between this guy's face and the background, so that we can extract away the background using the Pen tool. This is going to be more elaborate than what we attempted with the droplet, not only because it requires more points, but also because we'll be working with a couple of different varieties of points. So we'll need smooth points of course for the continuous contours along his cheek, for example, and his ears, and along the sweater as well, but we'll also need a special variety of corner-point called the cusp point that has control handles associated with it.

It's ultimately a corner at the intersection of two curving segments. We've got quite a few of those up here at the top of the ear, over here on the side of the ear, at the top of the cheek, down here at the base of the jaw, and so on. So let's get to work. To help you out, I've once again given you a Template layer, so it's called points & handles. If you turn on that points & handles layer, you'll see a series of red points and handles. Now, they're designed to be viewed, because there are so many of them, at the 100% Zoom ratio. So you'll still be able to see them at lower Zoom ratios, but you'll make them out best at a 100%.

All right, so what I'm going to suggest is that we switch over to the Paths panel and we create a New Path. I'm going to do that by Alt+clicking or Option+clicking on the Page icon. I'm going to call this one, face outline. Then I'll click OK. Next, we're going to begin drawing inside of that face outline path using the Pen tool. So I'll grab my Pen tool, either by clicking on it or pressing the P key. I'm going to start at this point here, right on the guy's ear. We're going to be drawing, if you're following along with me, we're going to be drawing in a counterclockwise fashion.

That is, we're going to be starting down, out into the pasteboard, around his head, and then we'll come back to the ear. So I'm going to start things off like so. I'm drawing a smooth point, as you can see. So it begins at this location, ends there. You can choose to keep the Rubber Band on if you like that function. I'm going to turn it off, because it kind of gets in the way of a couple of techniques that I'm going to show you, but again, a lot of people just love this option. I don't really think that much of it. It's not my favorite. Now I'm going to draw a tiny little point. That is, the point is the same size.

It's still your infinitesimal anchor point, but very tiny little control handle levers right there, and tiny ones there as well, so little levers. That's because we're just trying to follow the indent of this guy's ear. It's a pretty small detail inside of this image. Then I'll drag down like so. I'm trying to match the opposite control handle, like usual, so that I get the segment that I'm working on at any given time accurate, as it is right now. Then I'll press the Ctrl key or the Cmd key on the Mac in order to get my White Arrow tool and I'll move that control handle down.

Then I'll restore my Pen tool. This is our first cusp right here. That is, a corner between two curving segments. It occurs at the intersection of the ear and the side of the face here. There is a couple of different ways to create cusp points inside of Photoshop. So I'm going to click and drag. And I know this doesn't make a ton of sense, but I'm trying to align the previous control handle, not the one that's under my cursor, because then I'd move my cursor over here to match this control handle, instead, I'm trying to match the opposite control handle, because it's the one that's controlling the segment that's active right now.

So I'm not concerned with that control handle, the one under my cursor, except to the extent of how it affects the opposite one. That takes a fair amount of getting used to I think, but that is the way it works. Anyway, that's where that control handle goes. I'll go ahead and release. You might look at this and think, well, gosh, that's weird, because that's not a cusp. You just drew a smooth point. So we have these control handles that are locked into alignment with each other and that means that we're going to get a continuous curve at this location, a continuous arc. That's true, which is why we need to go ahead and convert this point.

Now, I went ahead and nudged it up a little bit from the keyboard. So I'm going to Ctrl+drag this control handle down just a little bit. All right, so I'm going to Zoom into 200%, so we have a very close up view. I'm going to show you how to make a cusp point, how to convert this point, this smooth point, into a cusp point. What you do is you press and hold the Alt key here on the PC or the Option key on the Mac and drag from that point. Notice by Alt+dragging or Option+ dragging from the anchor point, you create a new control handle in a totally different direction.

So it's not like we now have three control handles, we still just have two. That's the most you can associate with any anchor point. The old one though got clipped away. We're dragging a new one out. It's no longer locked into alignment with the previous control handle. So wherever I move this control handle, it has no effect on the opposite one. I'm going to move it to this position right there. All righty! So that's your first method for creating a cusp. That will result in a corner at this location, a corner between two curving segments.

All right, I'm going to go ahead and draw another smooth point right there. Then I'll scroll down a little bit and draw a smooth point at this location. Notice, this smooth point involves symmetrical control handles, so I don't really have to do any additional adjustment there. Now, I might want to Zoom out, because I'm not really matching my template when I'm that far zoomed in, but it looks like I'm doing okay. All right, here is another method for creating a cusp point. You know what, I've got to Zoom back in, so I can show it to you. So just in time for me to Zoom out, I'm back in. Here is another way that you create a cusp point.

Go ahead and drag down like so in order to match the previous control handles to the opposite control handle, which is affecting the active segment. It's the one that you care about. Once you get it into position, then midway into your drag, you still have the mouse button down or at least I do, midway into your drag, press and hold the Alt key or the Option key on the Mac. Then you can move the control handle under your cursor, independently of the one you already sat down, the opposite control handle. Now, if you release the Alt or Option key at any time, then you're going to get a symmetrical control handle again.

So you'll need to put it back where it goes and then press and hold the Alt or Option key and keep it down until you release your cursor. So now at this point, I would go ahead and release. Now I'm going to go ahead and drag at this point, like so, and I'm going to leave that a smooth point, because we'll come back to that one. We're going to modify that smooth point after the fact using the Convert Point tools. So we'll come back to that one. Now I'm going to draw a smooth point at that location, another one here. Again, I'm concerned with the location of the previous control handle, the one that's associated with the active segment.

Once I get it into position, I'll release my mouse button, and then I'll press and hold the Ctrl key or the Cmd key on the Mac and drag this control handle outward, like so, or, that is, downward and over. Then I'll go down here. Now, we can't see the location of this point, because it's off in the pasteboard, but I assume it's right about there or so. I'll get that control handle into alignment, where it goes, right about there. That looks good. I might need to nudge the point over to the left a little bit, and then I would Ctrl+drag or Cmd+drag that control handle back just a little.

All right, we've now managed to trace along most of the left side of this fellow's face. We're going to complete things out here in the pasteboard, but we're going to do so in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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